項目名稱: 歐思蘭化妝品展廳設計
建筑事務所/公司/機構/單位: 平介設計
項目完成年份:2024
建筑面積:400㎡
項目地址: 中國浙江省湖州市吳興區(qū)湖州歐思蘭化妝品有限公司
攝影版權: 徐英達
設計團隊: 李筱葳，楊楠，常博文
委托方:湖州歐思蘭化妝品有限公司
感官在《漢典》中被解釋為感受外界事物刺激的感覺器官。亞里士多德將人體的感官分為五種，即觸覺、嗅覺、味覺、聽覺和視覺。在《設計中的設計》一書中，日本著名建筑設計師原研哉將感官體驗理論及其應用進行了相應的闡釋，并提出“了解人的感覺及感受形式，然后利用設計讓受眾得到并了解訊息，是二十一世紀設計發(fā)展的新方向”。
In the Handian, it is interpreted as a sensory organ that feels the stimulation of external things. Aristotle divided the body's senses into five: touch, smell, taste, hearing and sight.In the book "Design in Design", the famous Japanese architect Kenya Hara explained the theory of sensory experience and its application accordingly, and proposed that "understanding people's feelings and feeling forms, and then using design to let the audience get and understand the information, is a new direction of design development in the 21st century".
▼ 項目概覽，Project overview ©徐英達
湖州歐思蘭企業(yè)展示空間位于中國浙江省湖州市吳興區(qū)—湖州歐思蘭化妝品有限公司。該項目突破傳統(tǒng)的以視覺和和聽覺為中心的設計手段，轉向了以多感官協(xié)調共同發(fā)展的體驗式設計。從多方位、多角度地去刺激人的感官系統(tǒng)，給人帶來身臨其境的感官體驗，更精準地向人詮釋和傳遞信息以及情感。將該設計策略結合場地現(xiàn)狀，并運用科技和一定的美學藝術，使企業(yè)形象、文化和產品得到一定的影響力傳播。
Huzhou Ousilan enterprise exhibition space is located in Wuxing District, Huzhou City, Zhejiang Province, China - Huzhou Ousilan Cosmetics Co., LTD. The project breaks through the traditional visual and auditory design methods, and turns to the multi-sensory coordination and common development of experiential design. To stimulate people's sensory system from multiple directions and angles, bring people immersive sensory experience, and more accurately interpret and transmit information and emotions to people. The design strategy combined with the current situation of the site, and the use of technology and certain aesthetic arts, so that the corporate image, culture and products get a certain influence to spread.
▼ 平面布局及人流動線，F(xiàn)loor plan and people flow line©平介設計
將整個展示空間按照四大部分功能進行切塊，分別為包材區(qū)、企業(yè)文化展示區(qū)、展廳以及倉庫。展示空間的整體方向圍繞感官體驗以及歐美元素的融入而展開，利用裝置造型、材質、商品陳列、智能數(shù)字化屏幕影像、背景音樂等，展示和傳遞著本季度業(yè)務向歐美國家拓展的信息。展廳依據(jù)感官的分類并結合所需陳列的商品價值、功能、研發(fā)、合作方、季度主題等劃分為七個功能區(qū)，分別為彩妝區(qū)、新品展示區(qū)、高端客戶展示區(qū)、以往商品陳列區(qū)、護膚品區(qū)以及主題展示區(qū)。展廳空間皆采用圓形或弧形的裝置，弱化了規(guī)矩且?guī)в欣饨堑拈L方形空間，并結合對角線的方式進行大小有序的排列布局。
The whole display space is segmented according to four major functions, namely the packaging material area, the corporate culture exhibition area, the exhibition hall and the warehouse. The overall direction of the exhibition space revolves around sensory experience and the integration of European and American elements, using installation modeling, materials, product displays, intelligent digital screen images, background music, etc., to display and convey the information of business expansion to Europe and America in this quarter. The exhibition hall is divided into seven functional areas according to sensory classification and combined with the value, function, research and development, partners and quarterly themes of the products required to be displayed, which are respectively color makeup area, new products exhibition area, high-end customer exhibition area, past products exhibition area, skin care area and theme exhibition area. The exhibition space adopts circular or curved devices, which weakens the regular rectangular space with edges and corners, and combines with the diagonal way to arrange and layout the size and order.
對于空間中的人流動線，本次設計注重以人流動線與空間之間相互作用的一種秩序感，以及穿插著自由的動線類型，避免了人群堆積的問題又能使參觀者發(fā)揮自我意識與展品進行互動，更好的挖掘出空間中潛在意思。在整體空間的流線設計上則采用單一的串聯(lián)式布局，按照線性順序組合排列且非常明晰，簡化不必要的干擾元素，從文化宣傳—材質—產品的一種模式，使參觀者的游覽路線將展示與體驗交叉進行，并隨著游覽路線的一步步推進和空間呈現(xiàn)內容的變化，除視覺和體驗以外的其它感官也得到逐漸增加，參觀者在展示空間內的情緒也逐漸發(fā)生變化。此外，在感官體驗下的展示空間設計實踐中，展廳則作為展示空間的重要節(jié)點，其客源數(shù)量相比于其它功能區(qū)域也較為聚集。
As for the human flow line in the space, the design focuses on a sense of order in the interaction between the human flow line and the space, as well as the type of free moving line interspersed, avoiding the problem of crowd accumulation and enabling visitors to exert self-awareness and interact with the exhibits, so as to better explore the potential meaning in the space. In the streamline design of the overall space, a single serial layout is adopted, which is arranged in a linear order and is very clear, simplifying unnecessary interfering elements. From a mode of cultural publicity - material - product, visitors' tour route will cross the display and experience, and with the step by step advancement of the tour route and the change of the content of the space presentation, In addition to vision and experience, other senses have gradually increased, and the emotions of visitors in the exhibition space have gradually changed. In addition, in the display space design practice under sensory experience, the exhibition hall is an important node of the display space, and the number of visitors is more concentrated compared with other functional areas.
▼ 展廳空間，Exhibition space ©徐英達
在展廳空間設計上圍繞本季度業(yè)務向歐美國家拓展的信息以及以芭比元素為主題進行展開，展廳設計以當代的手法進行演繹來彰顯具有品牌特性的企業(yè)展示空間。將觀賞、交互、產品體驗加入到展廳空間中，并使用不同的材料進行疊加，形成截然不同的質感來尋求材料性上的對比。高貴的金色、端莊的白色、嫵媚的粉色，以及時尚界經(jīng)典的黑色，無不逐一的散發(fā)著女性的魅力。
In the exhibition hall space design, the information about the expansion of business to Europe and the United States in this quarter and the Barbie element as the theme are carried out, and the contemporary method is interpreted to highlight the enterprise display space with brand characteristics. Viewing, interaction, and product experience are added to the exhibition space, and different materials are superimposed to form completely different textures to seek for material contrast. Noble gold, dignified white, charming pink, and the classic black of the fashion world, all exude the charm of women.
▼ 視覺體驗，Visual experience ©徐英達
通過人造光和自然光的折射使參觀者的視覺系統(tǒng)開始運作，并結合空間中的點、線、面、色彩等這些基礎要素的組合，對空間形成一個立體意識。
Through the refraction of artificial light and natural light, the visitors' visual system begins to operate, and the combination of points, lines, surfaces, colors and other basic elements in the space forms a three-dimensional consciousness of the space.
展廳空間中除了運用仿照西式風格的拱門形態(tài)墻體作為區(qū)域之間的隔斷外，還通過裝置將空間進行劃分，引導參觀者在空間中的動線走勢。
In addition to the use of Western-style arch shape wall as a partition between areas, the exhibition space is also divided through the installation to guide the movement of visitors in the space.
彩妝區(qū)在造型元素上借鑒了歐洲女性的層疊式裙裝以及克利諾林裙撐的形式，并以大大小小的圓和橢圓的形式進行穿插、疊加進行體現(xiàn)，具有支撐作用的立柱采用LED燈鑲嵌的手法，并結合飄帶的形式層層旋轉并纏繞在立柱上的玻璃展示架上，以此來弱化支柱的力量感和存在感。
In terms of modeling elements, the makeup area draws on European women's layered dresses and the form of Klinolin skirt, and is interspersed and superimposed in the form of large and small circles and ovals. The supporting columns are inlaid with LED lights, and the form of ribbons is rotated layer by layer and wrapped around the glass display rack on the columns. To weaken the strength and presence of the pillar.
新品展示區(qū)與以往商品陳列區(qū)的裝置，兩者以高端商品展示區(qū)的裝置為中軸線，對稱且造型一致鋪設開來。兩個區(qū)域的展示臺采用重心向下的方式，與高端商品展示區(qū)呈重力向上的裝置區(qū)分開來，并且兩個區(qū)域使用圓形吊燈的方式以此達到三者視覺上的高度統(tǒng)一。以往商品陳列區(qū)的墻面安裝大面積的數(shù)字屏幕，其目的不僅是為了陳列出產品的更新迭代，還為了展現(xiàn)各大品牌的企業(yè)合作方，以此達到一種該品牌的業(yè)界認可度與知名度。
The device of the new product display area and the previous product display area take the device of the high-end product display area as the central axis, symmetrical and consistent in shape. The display stands in the two areas use a downward center of gravity, which is distinguished from the high-end product display area with a gravity upward device, and the two areas use a circular chandelier to achieve a high degree of visual unity of the three. In the past, a large area of digital screen was installed on the wall of the commodity display area, whose purpose was not only to display the update and iteration of the product, but also to show the enterprise partners of the major brands, so as to achieve the industry recognition and popularity of the brand.
